jueves, 7 de junio de 2012

Irreverence, Musical Extravagance from “El Vagabundo del piano”

When someone is about to listen to an album by a new artist, their first innate impulse is to try to classify the artist. However, attempting to classify the myriad melodies, records and tones of Julian de la Chica’s bold piano-playing would be an intricate task. For although the artist is introduced as a piano player, “Irreverence” is an album that goes far beyond. From electronic sounds to elaborate pop music, De la Chica’s virtuoso piano playing renders them all.

The outcome is an astonishing masterpiece. Its underpinning comes from De la Chica’s broad knowledge of the classical genre. He has called himself, the Piano Wanderer, due to the recurrent changing of rhythms and sounds performed by De la Chica, even within the same score, always overflowing with intensity. Mystifying notes surround the entire album, lavishing on all of its compositions.

Combinations of classical piano with diverse instruments result in a musical torrent. Far from the current trend of endlessly exploiting the same melody, De la Chica emerges as a generous songwriter from the beginning to the end. His work does not hold back, but rather he intertwines melodies and harmonies to achieve masterful results.

This compositional stream allows the audience to immerse themselves into the music and soar through their dreams while listening to The Hours. Definitely, it is a complex and passionate work. Otherwise, you may choose to enjoy listening to Eredia on a misty rainy afternoon, another of the highlights of this album. While Amy - The Tribute, features the sweet and delicate voice of Omayra, which turns out to be an orchestrated work of pop music with an immaculate classical piano background played by Julian de la Chica.

On the other hand, The Parousia, is an innovative experience with electronics featuring Atrium, which is truly the beginning of a symbiosis between the academic and electronic music, which will give a lot to talk about. Equally surprising works are the ones composed for operatic voices: Gratia Plena and Io sono featuring Ana Echandi.

Finally, if there should be anything that we must emphasize regarding de la Chica’s magnificent work, is his eagerness to surprise his audience. Although one of his greatest assets is the tremendous musical extravagance that he bestows upon us, it makes us hesitate whether he should be called, The Wanderer, a nickname that does not live up to as seen in Irreverence, and if De la Chica would continue composing so generously. Let's hope so. We look forward to seeing you...